My fictional worlds were those of a fabulist, of an intellectual fantasist. I was the lawgiver, and the countries and inhabitants of my imagination were answerable to me. If I wished for a man to levitate; to enter another's story by rowboat or by intoning a sentence or by performing a shadow-puppet play; if I wanted him to become a swarm of intelligent elementary particles and enter the Internet and travel into the past and far into the future, it was so.

Each piece of writing I undertake, whether a story, novel, play, or poem, begins with an image.

I do believe we are actors in our own dramas, which, moment by moment, we ourselves write; that we are characters in our own fictions or those devised for us by someone or something else.

Because of an instability at my own core, it comforts me to live, fixed, within a story. If reading is our consolation for having been allotted only one life, I find that writing oneself into a fictional world is even more comforting.

The persona in my stories may be truer to my "real" self than any alleged objective, factual "I" that I could replicate for the purposes of storytelling.

I find it only natural for a storyteller to be interested in storytelling and, for anyone who spends the better part of his or her life writing fiction, it is hardly surprising that the pleasures, worries, and mechanics of fiction-making should enter the work.

Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.